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Wednesday, October 31, 2012

Blake Charlton has a rather unusual pedigree. From the author profile of his debut novel, Spellwright, we learn that he has served as an English teacher, a technical writer, a learning disabilities tutor, football coach and is a medical student at a prestigious university. Needless to say this is a group of somewhat disparate career choices, especially when considered under the light of his severe dyslexia. But, as with most writers, his varied life experiences have served him well in his latest career as a novelist.

Spellwright is the story of Nicodemus Weal, a young spellwright who was once thought to be a prophesied hero that would protect humanity against the return of an ancient and evil god. Spellwriting uses magical texts written by the caster in his own flesh to accomplish a variety of spell-like effects. Spellwrights can also create constructs akin to golems and gargoyles with the same magical scripts. Complicating Nicodemus' use of his magical talent is his cacography, a form of magical dyslexia that causes him "to misspell" not only the texts he creates, but any text he comes into contacts with, often to disastrous result. Nicodemus seems destined to remain an apprentice at the magical university at Starhaven for the rest of his life, or have his magic censored from his mind. His mentor, the blind Master Shannon, has other ideas believing that Nicodemus can overcome his disability. But when one of Shannon's rivals is killed and his mentor is investigated for the murder, Nicodemus finds himself at the center of a mystery with ties to prophesy, political intrigue, and the machinations of gods and demons alike.

The hero of prophecy is definitely a familiar theme, especially to anyone who grew up reading the fantasy of the late eighties and nineties. While there is a resurgence of these themes in the works of authors such as Peter V. Brett, Michael J. Sullivan and Brandon Sanderson, Spellwright feels less like these more contemporary works and more like those of Eddings, Feist, and Tad Williams, largely due to very clear lines drawn between the heroes and their enemies. Those looking for a story populated by the morally gray characters found in George R.R. Martin or Joe Abercrombie's work should look elsewhere. Which is not to say that Charlton's characters are two dimensional because they are not, they are simply good or evil.

One of the best things that Charlton does to differentiate Nicodemus from the glut of prophesied saviors so common in the genre is to make the use of his considerable magical gifts complicated by his cacography. The real heart of this story is about Nicodemus' coming to grips with and in some cases using his disability to his own advantage. Charlton's own personal experience with dyslexia give Nicodemus' struggles the weight of authenticity and make for a story significantly removed from the boy heroes of the novel's ancestors. Nicodemus wants to be free of his cacography and is willing to take foolish risks to do so, even though in his heart he knows that cacography is an important part of who he is. Nicodemus' journey to find his own identity and place in the world is more than engrossing enough to keep the reader turning pages, but Charlton also involves the character in an age old conflict with powerful demonic forces which provides for the action and intrigue elements necessary to move the plot forward.

Fans of detailed magical systems that have a real impact on the world around them, like those of Brett and Sanderson, will find much to like in Spellwright. However, Charlton's system of spellwriting is far less intuitive and seems almost mathematically complex which requires a great deal of explanation early on in the novel. The weight of that exposition slows down the pace of the beginning of the novel and may take more than a little time to wrap your head around the concepts, but once that is accomplished, the pace improves dramatically. Spellwriting is very flexible and Charlton uses it in some very inventive and cinematic ways that allow for some excellent action sequences in the latter half of the novel. With the necessary explanation out of the way, I am confident that Charlton's subsequent novels will have a more fluid and organic pace.

While Spellwright definitely has many of the earmarks of epic fantasy, the opening volume only hints at the grander scale of the genre. The cast of characters is small, the setting of Starhaven fairly closed, and the conflicts are fairly immediate and localized, but there are definite hints that the scope of the series will expand in the next volume. Charlton does an excellent job of hinting at the greater conflicts and the true scope of the world without taking long detours into things that only tangentially affect the main plot. As the story moves from the confines of Starhaven in the last third of the novel, the story gains speed and a sense of scope that is far from obvious from the rather confined beginnings.

While there is a definite feeling of the author getting his balance, Spellwright has plenty to recommend itself. Its inventive magic system, truly likeable protagonist, and Charlton's willingness to breathe new life into old tropes should please all but the most jaded of fantasy readers. If you long for a return to the fantasy of your youth and want a hero you can pull for with zero reservations then you should definitely spend some time with Nicodemus Weal.

Friday, October 26, 2012

The sophomore slump is a common term in the music world. Often an artist rushes a second album in an attempt to cash in on the success of a well-received debut. The rushed work is rarely as strong as its predecessor. Writers aren't immune to this phenomenon, though the longer production time usually prevents it from being as common. One need only look at reviews to the sequels of highly acclaimed debuts of such standout titles as Patrick Rothfuss' The Name of the Wind to prove my point. Daniel Polansky's debut, Low Town, left me hungry for more of his genre bending setting, his complex and troubled narrator Warden, and most of all for the gritty beauty of his prose. So when I received my review copy of Tomorrow the Killing, I will admit to feeling a mix of excitement and trepidation. What if Low Town was a fluke, a perfect storm of engaging premise and startling choice of protagonist? Now that the newness of the premise and characters has worn off, will this newest installment fall short of the high expectations of Polansky's debut?

Tomorrow the Killing answered all of my fears with a resounding no. Polansky more than avoids the sophomore slump, delivering a sequel that builds upon the strengths of its predecessor but delivers even an even more complex and engaging plot, more compelling character study, and a surprising amount of compelling back story about the protagonist, Warden, all delivered in Polansky's sparse yet elegant prose.

Set three years after the conclusion of Low Town, Tomorrow the Killing retains most of the elements of the previous story. Warden is still a low level crime lord and drug peddler with a penchant for sampling his own wares far more than is healthy. He still owns a half share of the Staggering Earl, with the even tempered war hero Adolphus, and still serves as a mentor of sorts to the former street urchin, Wren. When General Edwin Montgomery's daughter disappears into the slums of Low Town on a mission to find those responsible for the decade old murder of her brother, Roland., he knows there is only one person who can find and return his wayward child before she suffers the same fate as her brother. Having served with both the General and his son during his time as a soldier, Warden finds himself drawn into a confrontation between powerful forces despite his numerous attempts to disengage from both the dangerous storm that is brewing in Rigus and his own inconvenient conscience.

Polanksy alternates between the present day story line of Warden's investigation into the whereabouts of General Montgomery's daughter and flashbacks to his time as soldier, fighting the Dren miles from his homeland. We learn more about the infancy of his friendship with Adolphus, and his relationship to the General's murdered son Roland, who was one of Warden's commanding officers. While the fleshing out of our protagonist's backstory is certainly more than welcome, it is absolutely not a matter of Polansky adding filler material.Warden's history informs the present day as it becomes apparent that the Veteran's Association, that Roland Montgomery championed before his untimely and mysterious death, is mobilizing its members to protest a tax on their hard earned benefits and may hold the key to the fate of missing Montgomery girl. Complicating matters is Adolphus' growing involvement with the leadership of the Veteran's Association who have asked him to take part in their protests against the crown. Even Wren is drawn into their web through his growing admiration of his adoptive father, complicating Warden's attempts to keep his growing magical abilities under control and far from the grasping hands of the Empire.

These flashback chapters are some of the best in the novel. Polansky paints a harrowing picture of war, with not an ounce of nostalgia or glorification. Incompetence, illness, and long hours spent cold in the rain and mud before the crash of arms are the order of the day. Warden is never painted as a hero, not in his own mind any way, and he even goes out of his way to avoid recognition for a moment of supposed heroism. This is in direct contrast with the self-aggrandizement and rose-colored memories of the Veteran's Association and Adolphus. This unflinching approach to one of the genres most utilized topics reminds me of nothing so much as Clint Eastwoods's masterful final word on the American western, Unforgiven. Lovers of Joe Abercrombie's or Glen Cook's novels should definitely give this book a look.

Various criminal elements as well as members of Warden's former employer, Black House, also make appearances. True to form, Warden shrewdly plays the various factions against each other, making him a target if his manipulations are discovered. The political machinations at work in the plot also give Tomorrow The Killing a much larger sense of scope as Warden is dealing not just with the problems of the his own neighborhood but those of the Empire. The stakes are higher, the enemies more numerous, and in some cases all but faceless. Warden is in over his head, and struggles against forces that tax his considerable intelligence and cunning to levels even he cannot imagine.

Polansky seems to be taking steps to make Warden a somewhat more sympathetic protagonist this time around. While his gallows humor and propensity for violence and cruel sarcasm are very much intact, his drug use, while still present, is far less prevalent. A growing focus on his personal relationships particularly with Adolphus, also paint him in a more favorable light than the more introspective narrative of Low Town. While Warden may not view himself as redeemable, feeling the weight of his past sins and current situation are too vast for any hope at redemption, the readers may catch glimpses of the inherent goodness of his character that he drowns with drugs, violence, and risk taking.

As in Low Town, Warden often misjudges his enemies capabilities and suffers for his arrogance, adding high stakes and even higher tension to the latter half of the novel. The reversal at the end of the novel is far better than the one at the end of Lowtown. While there are plenty of reasons for readers to suspect things are not as they seem, Polansky manages not to telegraph his intentions, resulting in a far more satisfying ending.

Polansky's writing is top notch, as expected. The pacing is tight, keeping the reader engaged despite the frequent detours into the past. In fact, the flashbacks provide readers a chance to catch their breath and always furthers the plot in some way. The prose remains packed with the weary wit and bitter sarcasm that makes Warden such a memorable protagonist. Underneath is a stark beauty hinting that some part of our narrator has managed to stay untouched by his life of savagery and disappointment. I have small hope that Warden may eventually find peace if not happiness at the end of the Low Town tales, but my hopes for Polansky's future in the genre are anything but small.

Tuesday, October 23, 2012

Daniel Abraham is one of the most prolific writers in speculative fiction. His partnership with Ty Franck under the pseudonym James S.A. Corey has produced the widely acclaimed Leviathan Wakes and Caliban's War, with the third volume Abaddon's Gates coming soon. The duo also have an upcoming Star Wars novel featuring Han Solo in the works as well. For those of you who prefer fantasy to science fiction, Abraham has The Dagger and the Coin series, which has been one of the best received new fantasy series in recent years. The cover and blurb for the third installment in this excellent series has just been released with a projected publication date of May 2013.

And here's the blurb:

The great war cannot be stopped.

The tyrant Geder Palliako begins a conquest aimed at bringing peace to the world, though his resources are stretched too thin. When things go poorly, he finds a convenient target among the thirteen races and sparks a genocide.

Clara Kalliam, freed by having fallen from grace, remakes herself as a "loyal traitor" and starts building an underground resistance movement that seeks to undermine Geder through those closest to him.

Cithrin bel Sarcour is apprenticing in a city that's taken over by Antea, and uses her status as Geder's one-time lover to cover up an underground railroad smuggling refugees to safety.

And Marcus Wester and Master Kit race against time and Geder Palliako's soldiers in an attempt to awaken a force that could change the fate of the world.

I haven't read The King's Blood yet, but this blurb is going to have me waiting at the mailbox for its arrival. It looks like 2013 might be Daniel Abraham's best year yet.

Fresh off the announcement of his upcoming Riyria Chronicles and my review of the preceding Riyria Revelations, I contacted Michael J. Sullivan about doing an interview. After choosing to answer questions one by one in a conversational format much like I used in my interview with Stina Leicht, we got down to business. The following interview took some time to finish, largely due to some health issues in my family, but I am very pleased with the final product. Michael was a pleasure to work with, and his answers leave no doubt as to why he has been so successful.

52
Reviews:
As an author's whose biggest success story seems to be your rise from
writing stories that you had no intention of publishing, to
self-publishing phenomenon, and finally as a well recognized author
with books in every major bookseller across the country, which step
in the process was the most rewarding and why?

Michael
J. Sullivan:
Good question. I think it is probably the knowledge that my early
writing years weren’t a complete waste of time. I’m not sure how
many people know this, but I wrote twelve novels over the course of a
decade. While I knew most of those books were simply throwaways (work
done to teach myself how to write), I thought the last three of four
were of publishable quality. After years of rejection, I started
feeling like Linus from the Peanuts waiting for the Great Pumpkin. I
had seen my friends develop respected careers while I accomplished
absolutely nothing. This caused me to quit writing altogether.

As
you already mentioned, I started again (a decade later) but only on
the condition that I wouldn’t publish. I had already concluded that
way led to frustration, pain, and despair. If my wife hadn’t
insisted on getting my Riyria Revelations “out there,” I would
have died regretting not making better use of that time. Because I
finally “made it,” all those hours magically transformed from a
complete waste to necessary prerequisites…my contribution to
Gladwell’s 10,000 hours if you will.

52
Reviews:
Do you think that writing with the condition to not seek publication
allowed you a freedom to write without expectation? If so, do you
think that contributed to the success of the resulting work?

Michael
J. Sullivan:In
some respects, every first-time writer has freedom from expectation.
It’s only once you’re known for something that that comes into
play. For me, the main byproduct of writing without publication as a
goal was that I had an extremely narrow audience to please…myself.
Given how dark and gritty fantasy had become over the years, if I had
wanted to seek publication, I would have followed that trend.
Instead, I wrote what I wanted to read: a fast-paced adventure with a
couple of guys I wanted to hang out with.

As
to success, well I think the jury is still out on that. Don’t get
me wrong, I’m really pleased with how the books have been received
so far, but I think there is still a very long road ahead. Whether it
runs out of steam and fades into obscurity, or gains momentum and
finds a place in the fantasy landscape, is just too foggy a future to
predict. When readers mention my books along with the likes of
Sanderson or Rothfuss, I find it a bit surreal. In many ways I feel
like a freshman at a new high school, watching the “cool kids”
chatting at the “big boys” table. Sure I’d like to be invited
to sit down, but it’s still way too soon to even consider such a
notion.

52
Reviews:
Speaking of the trend of darker, grittier stories in modern fantasy,
do you believe that the last decade with it's nearly continuous wars,
financial insecurity, and political back biting has contributed to
this trend? And if so, do you think that part of the success of the
Riyia Revelations is due to its focus on characters who for all their
flaws are obviously noble and heroic and the generally more hopeful
tone of the storyline?

Michael
J. Sullivan:
I’m not sure the “social climate” was a factor, but I don’t
study such things, and could be dead wrong. I think it has more to do
with a constantly swinging pendulum. There was a time when fantasy
was too idealistic with shiny heroes and happily-ever-afters. I think
a few authors started bucking the trend, and it breathed new life
into the genre. Publishing, being what it is, saw that this “new
style” was selling, so a lot of acquisitions editors started
looking for more of that. Given the pervasiveness of the
dark-and-gritty I wouldn’t be surprised to see the pendulum swing
back again.

Your
assessment on my own characters is pretty accurate in that they are
flawed, complicated, and have their own demons to run from, but they
are aspiring to do the right thing and will rise to the occasion. To
be honest I wasn’t trying to “buck a trend.” I was just writing
the type of fantasy I enjoy to read. I do prefer my reading to be
escapist, especially given the social conditions you mentioned, and I
want to feel better after reading then when I start. One of the
criteria that draws me to a work is characters that I enjoy and would
like to know in real life. I do hear A LOT of comments from people
saying things like, “This is the type of story that reminds me why
I fell in love with fantasy in the first place.” And I must say
that I get a certain amount of pleasure out of that. But I wasn’t
trying to “time the market in any way.” In fact, at the time I
started thinking/writing the series it was before the transition
occurred…so I guess for me it was good that it took so long to
reach the market. A case of “what’s old” is new again.

52
Reviews:
You mentioned readers commenting on the similarity between Riyria and
the stories that led them to a life long love of the genre in the
first place. What books and authors served as gateways into the genre
for you personally? Are there other authors in the market today who
are also writing more 'escapist' fantasy that you would recommend to
your readers?

Michael
J. Sullivan:
While it’s not very original, and I feel like I should make up some
inventive story so I seem more interesting, but it was The
Hobbit and
The
Lord of the Rings That
got me started. My brother was reading them and would wake me up in
the middle of the night to tell me what had happened.

A
few years later, I found the books and then devoured them for myself.
Prior to that I had read only a single book (and hated that one).
Directly after reading Tolkien, I started writing my first story,
because I wanted to make up my own world and characters. At the time
there really wasn’t a lot of other fantasy for me to choose from
especially after I finished C.S. Lewis’s Narnia Chronicles and
Le Guin’s Earthsea Trilogy. They say necessity is the mother
of invention, and for me boredom is the mother of creativity. When I
didn’t find much else to read that’s when I really started
devoting time to writing so I could get “exactly” what I liked.
Eventually Eddings and Feist came along and I had something to read
again.

As
to “modern writers” the two I’ve enjoyed the most in recent
memory are Sanderson’s Mistborn, and Rothfuss’s Name of
the Wind. I keep trying the names that I hear often (Martin,
Weeks, Lynch, Abercrombie, Cook) and while I can appreciate their
storytelling ability and the craft of their writing, I don’t
particularly want to escape to their worlds or pal around with their
characters. For the most part it has been some of the young adult
stuff that I’ve had to turn to for that: Rowling’s Harry
Potter, Stroud’s Bartimaeus Trilogy, and even works for
young readers such as Jacques’ Redwall.

52
Reviews:
In talking about Riyria with friends, I've found the same responses
come up over and over again about the series. Royce and Hadrian seem
to be the driving force of the series popularity. I personally find
the back and forth between the pair to be the heart of the series,
bringing to mind the best buddy-cop movies only in a different
setting. Did Royce and Hadrian come to you as a pair, or was one the
starting point with the other created as a foil?

Michael
J. Sullivan:
They’ve always been a pair, and doing so has allowed me to explore
multiple aspects through their differences. From time to time someone
mentions one of them as a “sidekick” of the other, which I find
it interesting because to me they have always been equal partners. A
lot of people think I drew inspiration from Lieber’s Fafhrd
and Gray Mouser,
but I’ve never read any of those books, and in fact didn’t even
know they existed until after my series was completed. I think the
real inspirations come from two sources, one conscious and the other
subliminal. The conscious one was Butch
Cassidy and the Sundance Kid one
of the first movies I saw and really enjoyed (yes this dates me). The
second dates me even further, and it’s a television series called I
Spy,
starring Bill Cosby and Robert Culp. It was only recently that I
happened upon them again while channel surfing and said to myself,
“Hey, they’re a lot like Royce and Hadrian.” I’m sure the
years of exposure to them had an impression. Oh, and there was also
Sam Becket and Al Calavicci from Quantum
Leap,
still old but at least some of your readers might know who they are.

52
Reviews:
Since you had the luxury of having most of the series completed
before publication, I find it hard to decipher whether you are a
discovery writer or if you plotted the entire series before you
started. Which camp do you fall in, and what can you tell us about
your writing process for a series with so many volumes?

Michael
J. Sullivan:
Actually, I’m a little of both. I pretty much thought of The
Riyria Revelations as
one long tale, divided into separate episodes, and had an outline for
both each book as sell as one for the entire series. But these would
change as the writing process went along. A lot of times it’s like
navigating a ship at sea. I know where I started and where I’ll end
up, but at each compass check I might adjust course. If I find
something particularly interesting, it may change the destination
completely, but I never adjust the sails until I know that the new
course is definitely the way I want to go.

Many
times when I get done with each book, I’ll let it “simmer” for
a few weeks and I’ll constantly challenge myself to see if there
are ways I can ramp it up a few notches. Usually there will be
something really juicy that was lurking at my subconscious level that
will bubble to the top, and a few minor adjustments will really make
a big difference. For instance, in The Emerald Storm I took
great care to show the meticulous planning capabilities of Merrick
Marius but I was able to take that to a whole new level by going back
and tweaking a few things to really punctuate that point. It provided
a “surprise ending” that surprised even me because it wasn’t
planned consciously from day one. It must have been there all along,
because it only took a bit of adjustment to make all the pieces fit.

The
ending of the series is interesting because at various stages I would
trade one good ending for a better one. As I was
finishing the fifth book I had two or three ways I could conclude the
series, all of which were very satisfying, but I knew I had not quite
found “it.” I was missing something. It’s like looking at a
puzzle and seeing there is something recognizable but not being able
to put my finger on it. One day, during a torrential rainstorm while
I was picking my daughter up from work, the pieces finally slipped
into place…and the ending was…dare I say, perfect. This required
me to go back and adjust threads earlier in the books. I even had to
add a character or two, but I “knew” this was the ending I had
been setting up all along.

52
Reviews:
Many of your secondary characters grow into much more important roles
in the story becoming almost as important as Royce and Hadrian. Was
there ever a time where one of your characters stood up and told you
where they wanted to go?

Michael
J. Sullivan:
Oh that happens all the time, and I’ve learned that it is best to
listen to them when they defy my original intentions. There are also
characters that get more “screen time” because they turn out to
be so entertaining. I know that many people see these books as Royce
and Hadrian’s tales, and there are good reasons for this, but for
me I’ve always considered this series to have four main characters:
Royce, Hadrian, Arista, and Thrace/Modina. By the end of the series
it becomes apparent that the women stand toe-to-toe with the men, but
early on Arista and Modina are given secondary status by design as I
wanted to show their growth. Much of what makes Royce and Hadrian who
they are occurs in the past, and we see the results in their
“current” bonds of friendship. But Arista and Modina are put to
the anvil through events as they occur. We get to see me pound their
metal into stronger stuff. Their stories really start to come into
the spotlight with the third book, Nyphron
Rising.
Those who stop after the first pair will never get exposed to the
full effect, but it’s a technique where the payoff is worth the
risk.

The
best example of my characters refusing to submit to my will came in
the sixth book. A party rides out from Aquesta (the capital of the
current empire) on their way to Percepliquis (the ruins of the
original empire). Along the way they wanted to stop and spend the
night in Ratibor (a nearby town that was the setting for much of the
third book). I REALLY didn’t want to go there. It’s a place that
I’ve already visited, and I was anxious to get to the party to the
“really good stuff,” which was entering Percepliquis. But it was
cold, and snowy, and they insisted in staying at an inn. So I let
them go. This resulted is some of my favorite scenes in the book. As
I was writing I realized that there were all kinds of opportunities
that could be fulfilled by that one night stay in Ratibor, and I’m
grateful that they refused to follow my initial directions.

52
Reviews:
One of the things I like best about the Riyria Revelations is the way
you slowly details about the setting often only showing a single
larger piece per novel. This allows for a more subtle way of
inserting exposition and detail. I've read that you prefer to write
with a light touch, trying to remain nearly invisible to your readers
so as not to distract them from the story. Was the slow reveal of the
setting, part of that effort? What else can you tell us about
"writing lightly"?

Michael
J. Sullivan:
I actually see two things here. The first is slow
reveals,
which is a pretty non-conventional approach, particularly in
traditional publishing. Because I wasn’t planning on releasing any
of the books, I didn’t concern myself with “front loading”
character background and world building. I wanted to reveal this
information slowly over the course of the entire series. When
traditionally published, a book has to make it through the gauntlet
of agents and acquisition editors, and to do that it must be packed
with all the choice
cuts.
I think this is why some series start out strong and end weak,
because all the “good stuff” was in the first book. My Riyria
Revelations is
just the opposite. Because my readership was myself, my immediate
family, and a few friends, I knew my audience would read it in its
entirety, so I concentrated on a big
finish.
I wrote the series so that each book escalated and the reader got
more details the deeper they journeyed. My intention was to make each
subsequent book “better” than the one before. This makes the
earlier books, by definition, the weakest of the set. It’s a
dangerous practice, because some who reads the first book might feel
there is too little substance and the logical conclusion would be to
attribute any deficiencies they see as lack of writing skill. They
have no way to know that it was a planned approach. I’ve no qualms
with people who judge my work as lacking, but when that occurs before
the end of the series, I also realize they saw only a piece of the
entire tapestry.

The
writing lightly aspect has to do with focusing on the story rather
than the prose. I selected an unadorned style for Riyria so that the
focus was squarely on the plot. I’ve written literary fiction as
well, and in that case I do just the opposite. In that type of
writing the challenge isn’t in the spinning of the tale, but rather
selecting just the right word and creating sentences that make the
reader pause and reflect. I have mental pictures for the readers when
employing each of these styles. For the literary work I imagine
someone sipping wine and slowly savoring the book. My hope and
intention is that they would pause at a particularly well constructed
sentence before moving on. For Riyria, I imagine the reader
eating popcorn. Their eyes are glued to the page and there’s an
unconscious hand to mouth action delivering the snack, and it’s not
until they find the bowl empty that they realize just how much time
went by. While writing simply and lightly” may sound like
less work than constructing eloquent prose it really is quite
difficult to do. I’ve killed off many sentences that I absolutely
loved, because of a fear of breaking the spell I was weaving. My
approach in this kind of writing is to have the words vanish from the
page, and instead have the reader see a movie playing in their mind.
I don’t want them to even notice the writing.

52
Reviews:Also
you make very effective use of common fantasy tropes in a way that
plays to fantasy readers expectations, resisting the temptation of
trying to invent whole new races and systems of magic. I felt this
allowed the focus of the story to remain firmly with the characters,
which seems to be what you have become most known for. What more can
you tell us about your approach to world building?

Michael
J. Sullivan:
My intention with Riyria was first and foremost to entertain, and as
such there is a lot of focus on comfort. I wanted the series to feel
like your favorite pair of well-worn shoes, so having settings and
archetypes that have been well received in the past, helped to set
that stage. One of the things that I think makes fantasy difficult
for some readers is what I call the Wall
of Information.
Most fantasy writers have extensive worlds that they have spent
years, or decades, creating. It’s natural for them to want to show
that off, but for me it can also be a barrier between the reader and
the story. Of the three pillars in writing (plot, character, and
setting), The Riyria Revelations sacrifices setting in favor of the
other two. Yes, my world has an extensive history (going back 8,000
years), but I employ the iceberg technique of exposing only a small
fraction of it to the readers. Bottom line is if it doesn’t propel
the plot, or have some baring on the conflicts and challenges of the
characters, then it remains offstage.

52
Reviews:
I would be remiss if I didn't mention self-publishing. As an author
who has enjoyed commercial success in both self-publishing and more
traditional routes, what advice can you give aspiring authors who may
be considering which method works best for them. What does it take to
be successful in self-publishing, other than having a sellable
product? How did you make your books stand out above the crowd of
similar titles? And on the flip side, what do you perceive the
benefits of the traditional publication model?

Michael
J. Sullivan:
Wow, that’s a great deal to cover, but I’ll do my best to be
concise. There is a lot of partisan rhetoric between the self and
traditional publishing camps. I think there is no right
choice because
it all depends on the goals of the individual author. Some really
love the freedom of total control that comes with self-publishing.
Others won’t feel like they are “a real writer” unless someone
else vets them. These are both legitimate concerns that lead to
different paths. I just want people to be educated on the pluses and
minus of both and choose what is best for them. So my best advice it
to make a list of the aspects of publishing that are important to
you,
and based on those your path should be pretty clear.

I’ve
said it before, and it’s worth repeating, that success in
self-publishing is exactly the same as in traditional. You need to
write a good book, get it in front of a core group of people (who
wind up loving it), then let word-of-mouth do the rest. After that,
the author’s primary responsibility is to continue producing more
books to keep the hungry readers well-fed. Some authors think that
going traditional means you can relinquish all the marketing work to
their publisher, but this is a dangerous fallacy. Each release
calendar, the marketing department must juggle dozens(or sometimes
hundreds) of titles and there simply aren’t enough resources to go
around. I feel that the savvy author will take responsibility for
building their audience regardless of which path they take.

So
the real difference between self and traditional comes down to the
production of the book. Whether the self-published author hires cover
artists and editors, or goes the do-it-yourself route, they MUST
produce a high quality product that would stand toe-to-toe with works
released by a major publisher. In general, a self-published book must
be twice as good to get half the credit.

The
two biggest venues I used for getting
the word out when
self-published are the same ones I would recommend to traditionally
published authors: book bloggers and Goodreads. Yes, I have a
website, Facebook pages, and twitter accounts, but I see these as
conduits for interacting with existing readers.

For
discovery
purposes,
I think bloggers and Goodreads is a better choice. Bloggers do a
tremendous service in uniting readers and writers so I always treat
them as the god-like beings that they are, or at least that’s how I
think of them. They’ve done so much for my career in the way of
validation by
sharing their enthusiasm for my books. When it comes to interacting
with other readers, you can’t beat Goodreads. The secret to that
site, and all social networking sites in general, is that you have to
be a contributing member of the community first and foremost and
treat any mention of your books as an aside.

As
for traditional publishing it does indeed have many advantages that
are closed to self-published authors: bookstore sales, library
acquisitions, full production capabilities including audio, print,
and ebook. Also you have a full team working on your behalf
instead of having to do it all yourself: marketing, public relations,
channel sales, editors, cover designers, layout people, each one’s
efforts give me more time to write. Also traditional publishing
extends the author’s reach. I had some small foreign translation
sales as self-published, but once the Orbit deal was announced, I was
able to get more lucrative contracts with bigger countries that sell
a lot more books. Also, there are still a lot of people who would
never consider reading a self-published book no matter how many
recommendations they’ve heard. The stigma is not as bad as it once
was, but there is a certain amount of benefit an author receives by
getting the traditional publishing house’s seal of approval.

52
Reviews:With
the Riyria Revelations completed, what can we expect from you in the
future? Readers of this blog are likely familiar with duo of Riyria
prequel novels due out next year, and I for one am anxious to read
more about Royce and Hadrian's early days. Do you intend to continue
expanding the world of Riyria beyond those novels, or can we expect
to see something completely different?

Michael
J. Sullivan:
As I write this I actually have four completed novels, another at
60%, and a new series in the developmental stage. Two of the books
are indeed already accepted and as you mentioned will explore the
forming of Riyria. The
Crown Toweris
being released in Aug 2013 and The
Rose and the Thornthe
following month. These are part of what I’m titling The
Riyria Chronicles,
which means that Royce and Hadrian will be featured. If there will be
other Chronicle
books
is impossible to say, as it really depends on the readers. I have
more stories in my head then I’ll ever be able to write in my
lifetime, so I don’t want to spend time writing more Royce and
Hadrian if no one cares. TheChronicles
came
into existence because so many people expressed they REALLY wanted
more. Unlike Revelations,
which was a single divided tale, the Chronicle
stories
are more standalone. I did this so I can stop them at any point. But
demand alone isn’t enough to keep the series going. I’m very
protective of Riyria
and
we’ve all seen television or book series that have gone on way past
their prime. I won’t let this happen. If I feel that I’m not
providing something fresh and entertaining, or find myself running
out of momentum, then I’ll stop no matter how great the demand.

The
other projects do branch out into different areas. I have Antithesis,
an urban fantasy where the world is kept in balance by the opposing
forces of two individuals who each wield powerful magic. At the time
of the story, one half of this pair must give the power to an
unsuspecting by-stander because their apprentice isn’t present as
they die. The person who receives this power has no idea how to use
it, the consequences of having it, or that his polar opposite is
planning on killing him off. This book is currently with Orbit for
consideration.

My
current work in process is Hollow World, a science fiction
novel that wasn’t even on my radar to write, but inspiration struck
when I was writing a short story for an anthology. It basically shows
a future that resembles the attributes expressed in John Lennon’s
song,Imagine. In my future, I portray a place where there is
no war, hunger, religion, countries, and people basically have all
their needs provided for. But is such a future a utopia or does
freedom from want and a world where everyone is truly equal create a
homogenous morass where passion ceases to exist?

The
literary piece I spoke about earlier in the interview, A Burden to
the Earth, is still one of my favorite stories but I just have to
figure out how best to get it “out there.” I don’t think
self-publishing is a good venue for literary fiction and as Orbit
only represents fantasy and science fiction, I’ll have to get my
act together someday soon and get it on the traditional
query-go-round track.

My
next series, which I was supposed to start this fall, but Hollow
World jumped in front of it, will be another epic fantasy but not
Riyria related. I’m hoping to do what I did with
Revelations, which is write all three books before publishing
any of them. This will probably mean two and half years of writing,
so my hope is that Chronicles, Hollow World,
Antithesis, and Burden can keep the readers well-fed
and provide me the runway to follow that course. If Chronicles is
well received, I’ll pause the new series when I’m between books
to put out a Royce and Hadrian story. Those can be done fairly
quickly because I already have the outlines, the setting, and, of
course, already know most of the characters pretty intimately.

52
Reviews:
I imagine that many of your fans dream of one day becoming authors
themselves. What advice would give your fans with literary
aspirations?

Michael
J. Sullivan: Two
things come to mind. First, I’d like to make sure they know what
they are signing up for. The media loves to tell the story of
“overnight successes” but for the vast majority of writers they
will have a very long road ahead. In his book The
Outliers, Malcolm
Gladwell puts forth the proposition that it takes 10,000 hours of
doing a task to become successful. If you write two hours a day
that’s 5,000 days of effort or 13.7 years. In his own book On
Writing,
Stephen King puts forth a similar theory but he expresses it in word
count. He believes the first 1,000,000 words are basically practice.
Assuming most novels are 80,000 to 100,000 words that’s 10 – 12.5
novels. Those numbers align pretty well with my own experience. I
wrote twelve novels over the course of ten years where I would
generally write three to four hours a day. So the key take away here
is that writing is a marathon not a sprint, and you have to be
willing to dedicate yourself to putting in those hours. You may be
born with a natural talent
to
conceive and spin a great tale, but the skill required to translate
that into the written word has to be learned by doing.

The
second relates to the first, and it is that you need to write “for
the love of writing” and not for the expectation of financial gain.
Again the vast majority of writers will earn nothing, or very little,
so your motivation must come from the enjoyment you receive from the
creation process. It just might be the only reward you will ever
receive. You need to focus on making the journey one of joy and be
less concerned about the final destination. After all, if you are
going to spend decades doing something, you damn well better enjoy
it. If you find writing a chore, or make statements like,
“It’s hard for me to put my butt in the seat and write,” or
“Whenever I sit down to write, I get distracted by the Internet and
don’t actually get anything written,” then you may be infatuated
with the idea of being a writer, which is a much different
thing than having a desire to write.

Today,
there are more opportunities than ever for getting your work “out
there,” but forget about shortcuts or the dreams of being an
overnight sensation. If you are dedicated, constantly working on
improving your skills, and keep producing then you are on the right
track. Celebrate each accomplishment, but continue to push yourself
to a higher level, and above all enjoy the ride. Life is short, and
if you are fortunate enough to find your passion then pursue it with
unbounded enthusiasm. Then, no matter the outcome, you’ll have
lived your dream.

Friday, October 19, 2012

Life's been pretty hectic lately, and my reading time has been greatly diminished for the last few weeks. So while I am still working on some longer works, like Kameron Hurley's God's War and Tomorrow the Killing by Daniel Polansky, I read a few novellas to give me something to review. I'll start with the best of the lot, Kevin Hearne's Two Ravens and One Crow.

Hearne's novella bridges the gap between Tricked and Trapped, the fourth and fifth novels in his Iron Druid Chronicles. Fans of the series will find plenty to enjoy in this novella, as Hearne wisely plays to the strengths of the series with plenty of over the top action, interesting takes on mythology, and plenty of side splitting humor.

What really makes Two Ravens and One Crow stand out is that it never feels like a throw away story. It ties directly to the plot of the series as a whole, and actually addresses the characters in meaningful ways in the process. More importantly, it's just plain fun.

Atticus O'Sullivan has a penchant for making powerful enemies. His successful assault on Asgard left a string of dead gods, including Thor, in its wake. Understandably, Odin is pissed off. Atticus has been on the run ever since, trying to complete his apprentice, Granuaile's training while keeping as far away from vengeful Norse deities. But Atticus can never avoid trouble for long, so when the Morrigan appears to sweep him away for a meeting with Odin, he has no choice but to accompany the Chooser of the Slain. The alliance that follows is unexpected and action packed and sets the stakes high for the impending Ragnarok.

As always, Hearne;s characterizations and sense of humor are the highlights of the story. While most of the story centers around Atticus and his dealings with the Morrigan and the antagonistic Norse gods, we see just enough of Granuaile and Oberon to make sure that the funny is brought in classic Iron Druid style. Hearne also addresses the stresses between Atticus and Granuaile and those readers eager for a romance between the two, will not want to miss this installment.

The Morrigan, gets the most face time of the supporting cast and Hearne takes the opportunity to delve into the Chooser of the Slain more deeply than he ever has in the past. If anything, he manages to make her far more human than she's been depicted thus far, often with surprisingly humorous results. But make no mistake, this is merely a aspect of the character that exists beneath her usual cruelly cunning exterior. I found this aspect of the story to be the most compelling, as it added a level of sympathy to an otherwise unrelateable character. I'm looking forward to seeing where Hearne takes this new development.

In addition, readers are also treated to some history. As a 200 year old druid, Atticus' back story is extensive, and Hearne has layered bits of that tale into the previous volumes in the series, reflecting on events that are relevant to the present day plotlines. Two Ravens and One Crow is no exception to the pattern, giving us a glimpse into Atticus' earliest days, an area that has remained largely a mystery up until now. We learn more about the origins of Atticus' unnaturally long life span in a flashback sequence that is as entertaining as it is informative.

Which brings us to the main thrust of the novella, the repercussions of Atticus' assault on Asgard in Hammered. While Atticus has certainly taken drastic measures to avoid the wrath of the slain thunder god's family, he has not really been forced to deal with the aftermath of his actions. In many ways Tricked, which directly follows those events, skirts the issue of the Norse pantheon's vendetta almost entirely, but Two Ravens and One Crow goes the other route confronting them directly. And while, it seems to be resolved in a fairly simple manner with the Norse accepting Atticus as an ally, there is no mistaking the animosity of Odin and the other Aesir. I have no doubt, that things will get far messier in the recently released Trapped as our hero is forced to make good on the alliance made in these pages.

Kevin Hearne has crafted a fine example of how a novella can have a lasting impact on a series, rather than serving as a mere way to wring a few more sales out of a popular setting and its characters. Far from a throw away piece, Two Ravens and One Crow is an essential part to both the story and mythos of Atticus O'Sullivan. Fans of The Iron Druid Chronicles should consider this novella a must read.

Monday, October 15, 2012

Orbit has just released a first look at one of my most anticipated debuts of 2013. Promise of Blood by Brian McClellan is just the sort of tale that I am always on the prowl for. McClellan's novel has interesting premise, a mash-up of firearms and sorcery, with a hearty dash of political intrigue and mystery. Add in the fantastic cover art, with an interesting twist on a genre trope and I'm practically salivating. With a blurb from Brent Weeks, whose The Blinding Knife has been my favorite release this year, I really have no choice but to give Promise of Blood a pass to the top of my most anticipated debut list. Check out the cover and blurb below. I've included Week's endorsement as well.

Field Marshal Tamas has staged a coup against the king of Adro. His powder mages have slaughtered the king’s Privileged cabal of sorcerers and the nobility has been rounded up to face the guillotine with their king. Tamas has brought revolution to his country in one bloody night to save his people and right the wrongs caused by the old regime. Yet his actions have far-reaching consequences of which no reasonable man could have conceived, and the king will prove the easiest obstacle to overcome in his quest to free Adro.

Captain Taniel Two-shot is a powder mage of considerable skill. Gunpowder makes him stronger and faster than other men. He can manipulate its properties to shoot out a man’s eye at twice the length of a battlefield. It makes him perfect for killing the old Privileged sorcerers with their destructive magic. One of those Privileged has escaped Tamas’ cull. The problem is, she’s stronger than any sorcerer Taniel has ever seen, and the mercenaries sent to help him track her are of dubious reliability.

When Adamat is summoned to the palace in the middle of the night, the last thing the veteran investigator expects is to arrive during a regime change. His new employer is none other than the man responsible for overthrowing the current government and he has some unfinished business with the king’s sorcerers. The dying Privileged cabal has left the Field Marshal with a riddle. It could be nothing, but Tamas does not like loose ends. Adamat knows from long experience that one doesn’t ask questions unless one is willing to learn–and believe–the answers. To add to his problems, the Field Marshal isn’t the only one interested in the answer to the dying sorcerers’ riddle. As enemies emerge from the shadows and the investigation takes a disturbing turn, Adamat must decide where his loyalties lie.

“Promise of Blood is a hugely promising debut. Guns, swords, and magic together? What more could you want? How about tense action, memorable characters, rising stakes, and cool, cool magic? Not only the finest flintlock fantasy I’ve read, but also the most fun. Brian McClellan is the real thing.”

Saturday, October 13, 2012

At New York Comic Con, Del Rey announced two new projects in the Star Wars universe. The first will tell a story that was first mentioned in A New Hope, but has remained a mystery ever since. The second sees a writer responsible for one of the most popular science fiction books released in recent years.

John Jackson Miller will tackle Kenobi, which details the Jedi’s master's life following events of Revenge of the Sith. Miller had the following to say about the project:

Kenobi is a sweeping story that’s part epic western, part high-stakes drama, part romance — but it’s all Star Wars, taking place in the early days of Obi-Wan’s exile to Tatooine. I’ve been working on this concept for years and the basics are pretty simple. The greatest hero in the galaxy faces his toughest challenge yet: He must stop being Obi-Wan — and learn to live as Ben.

The release date for Kenobi is set for late 2013.

In other news, the third book in the upcoming “Rebels” standalone novels, focusing on the principle characters in the original trilogy set between Star Wars and The Empire Strikes Back, will feature Han Solo. The tale will be penned by James S. A. Corey, otherwise known as the writing duo of Daniel Abraham and Ty Franck. Corey's immensely popular space opera novels Leviathan Wakes and Caliban's War leave little doubt that this project will be one to watch for.

Which of these upcoming additions to the mountain of Star Wars titles are you most looking forward to?

Thursday, October 11, 2012

Jay Kristoff's debut novel Stormdancer, entered the market on a cloud of positive buzz, helped by a fantastic premise and a cover blurb by none other than Patrick Rothfuss. It was the strength of both that prompted my purchase, and I am certain I am not alone. An endorsement from one of the most highly regarded new voices in the genre in the last decade carries a lot of weight. Sadly, I was left wondering if Rothfuss actually read the entirety of the novel.

The premise of Stormdancer is definitely unique. Kristoff's Shima is Japanese flavored steampunk full of chain-saw katanas, a power mad emperor, samurai wearing mechanized armor, airships and did I mention a griffin. The excitement surrounding this novel is no surprise at all. It seemed almost guaranteed greatness. While it has, no doubt, sold very well, critical reception has been very mixed. This seems to be one of those you love it or you hate it books. Casual readers will likely enjoy the engaging world and characters that populate Stormdancer. Readers with a more critical bent, may have a drastically different experience.

I fell into the latter category. For as many things as Stormdancer has going for it, it has just as many problems. Strength of premise and a fantastic pre-release buzz were just not enough to elevate this story beyond the myriad of problems I encountered. Stormdancer is flawed on so many levels that I was unable to enjoy the story Kristoff was trying to tell. Between the uneven pacing, inconsistent world building, unbelievable character development, and cultural appropriation I had a really hard time even finishing it. Which is sad, because I really wanted to like Stormdancer.
The uneven pacing seems to be the most telling of the early flaws in the novel. Kristoff starts with an action packed sequence, showing us not only our protagonist, Yukiko, but the arashitora or thunder tiger fighting a pair of demons. The action is tight and flows well, and there are just enough hints to make us wonder about how this sixteen year old girl ended up fighting side by side with a mythological beast. If the following chapters were written half as well as the first chapter, Kristoff wouldn't be facing the torrent of criticism that seems to surround Stormdancer. But he doesn't, rewinding the story and launching into chapter after chapter of exposition with very little exciting forward movement. I slogged through the first 120 pages or so. After that, things pick up speed, but there is no gradual ratcheting up of the pace here. We go from coasting along to breakneck speed, and things never really slow down until we are at the final pages.

This causes problems, because character arcs are shortened, keeping them from developing naturally. The two most egregious examples are the relationship between Yukiko and Buruu, the aforementioned arashitora. When Yukiko's father captures Buruu, he cuts off the arashitora's flight feathers in an attempt to break the beast's spirit. Through Yukiko's link with the creature, we are privy to its thoughts. Understandably, they are not charitable at all. But it takes no time at all for Buruu to learn to trust and even love Yukiko though their psychic bond. Kristoff isn't so foolish as to make it a complete about face, but he spends so little time working through the process that the relationship seems contrived and this caused it to ring false at least for me. The second instance that I found particularly off-putting was Yukiko's relationship with the Hiro, the samurai with the green eyes. I'll talk more about the eye color later, but having Yukiko who seems to swoon over this non-character for reasons that are more juvenile than can be attributed to this otherwise resourceful and competent young woman. The relationship like Yukiko's relationship with Buruu moves too quickly and seems to only be there to set up a love triangle and to tell us repeatedly how our heroine knows she is being a foolish girl before continuing to moon over the green-eyed samurai. Given more time these relationships could have been more believable and meaningful, but at the pace Kristoff is setting they come off as shallow and uneven.

The world building in Stormdancer is equally haphazard. While Kristoff has said in interviews that Shima is not Japan, his statements hold no water with me. The language(when he gets it right), cultural norms, weapons, clothing, food, and all of the creatures we encounter(with the exception of the arashitora) are all taken straight from Japan. I'm not an expert on Japanese culture, but with twenty years served as an instructor and student of Japanese martial traditions, I think I am more than qualified to say that if Kristoff wanted this to be Japanese inspired rather than a Japan that never was, he should have tried harder. With that said, the non Japanese elements contained in the story are jarring because the setting is so richly infused with all things Japanese. There are pandas in Shima, and characters use Chinese phrases and a lot of British slang to name but a few of the standouts. These elements stand out so much that they ripped me out of the story and left me scratching my head. In a barely three hundred page novel, these things detract for more than they might have spread out over more pages. Packed so closely together, they just make the writer look lazy.

Which brings me to the issue that seems to be the biggest sticking point with reviewers, cultural appropriation. As I've stated above, there is little use in denying that Kristoff has borrowed or appropriated most of the elements of his setting from Japan. It stands to reason that it is important to treat the borrowed culture with respect, and try to portray it as accurately as possible. I know it's a fantasy story, but if you want to run rough shod over a culture, invent your own. Kristoff seems to pay little attention to accuracy in the language especially in the correct use of honorific terms. In other passages, he has characters translate their own language into English in the midst of internal dialogue. His treatment of women and the caste system of Japanese society is uneven, he uses the correct approach only when it suits him. For example, women are portrayed as subservient to men in almost every setting in the book, except when dealing our protagonist or members of her family. Yukiko is also obviously a member of the samurai caste, given her families long service to the Emperor, yet she seems to be not allowed to wear the swords that would be her birthright. And then there is the green-eyed samurai. Native Japanese do not have such eye color, and to use such a feature to make him somehow more desirable is an insult to the culture that Kristoff owes his entire setting to. It's sloppy writing and with all of the other flaws made Stormdancer a major disappointment, especially given the hype and possibilities of it's premise.

I'm certain Stormdancer will sell plenty of copies, and there will be countless casual readers who will eagerly gobble up anything else Kristoff publishes in this series. And that's okay, I won't be one of them until I see evidence that he's found a way to balance the cool of the story with a whole lot more craft.

Wednesday, October 3, 2012

I covet review copies. As a fledgling blogger, I had dreams about boxes of new releases arriving at my house free of charge of ARC's cluttering my already full bookshelves. Well reality and dreams rarely have much in common, and I quickly learned that it takes quite a while to build a reputation and the contacts necessary to start receiving books to review from the publisher. So I soldiered on, read the books I could afford and posted my thoughts. It's been great fun and rewarding to get to know some of the authors that I admire and to begin to be a part of the community of bloggers and reviewers. A few weeks back, I was shocked to find a message from Tad Williams asking to send me a review copy of his newest book. Tad wrote one of the first epic fantasy novels I ever read, The Dragonbone Chair and was instrumental in cementing my love for the genre. But I must confess, everything I read of Tad's post To Green Angel Tower left me cold, and I eventually stopped reading him. Some of that was my own personal distaste for anything even remotely sci-fi (Don't worry, I out grew that) which made his multi-volume Otherland series something I just wasn't interested in. I read War of the Flowers as well, but it didn't gel for me either. When I first heard about the premise of The Dirty Streets of Heaven with it's earthbound angels serving as celestial attorneys for the recently departed, I was intrigued. It sounded fresh while similar to Jim Butcher's Dresden Files, a series that I burned through like a crack addict a few years back. But I was unsure about it, having had mixed opinions on Williams' work. So I purchased other books, promising myself I'd check reviews and pick it up later if they were favorable. Tad's message promising a review copy of course moved his novel to next on the pile.

Life got in the way a bit, and it took me a little longer to finish the book than I would have liked, but I'm so glad Tad sent me that message. The Dirty Streets of Heaven is a must read for all fans of Urban Fantasy, especially fans of Harry Dresden. Williams combines a startlingly fresh concept and a relatable, yet flawed protagonist and then surrounds him with a supporting cast of offbeat misfits in typical Tad Williams style. Top it all off with gun-battles, car chases, celestial politics, suspicion and frequent flirtation with spiritual philosophy and you have a definite A-list entry into the urban fantasy milieu.

The Dirty Streets of Heaven follows the story of Doloriel, known to all but his heavenly employers as Bobby Dollar. Dollar is an angel, inhabiting a human body and serving the Most High as an advocate, arguing against the representatives of Hell to decide whether souls ascend to Heaven or find themselves in eternal torment. When a respected citizen of San Judas unexpectedly commits suicide, Bobby is assigned to be the man's advocate. What seems to be a fairly straightforward case, quickly becomes a deadly mystery with Bobby at its center. The man's soul is missing, and neither Bobby's superiors in heaven or his demonic adversaries know where it has gone or why. And this is not the last soul to vanish, raising the stakes all the more. Add in an age old, nearly unkillable monstrosity that is suddenly stalking our hero for reasons unknown and Bobby has his hands more than full.

One of the strengths of The Dirty Streets of Heaven is the voice of its protagonist. Considering that any urban fantasy story with a male protagonist is going to face the unavoidable comparison to the 800-pound gorilla of the genre, Harry Dresden, I think Williams has something special in Bobby Dollar. Dollar is at once everything we expect; sarcastic, a ladies man, but unable to form any lasting bonds with anyone of the opposite sex. But he's an angel which comes with its own set of expectations, and Bobby meets none of them. He has no wings or flaming sword, would rather hang out with his fellow advocates at the bar than do any actual work, and is openly critical of his heavenly masters. Oh and all of those things that make him a typical urban fantasy hero don't fit very well either. For an angel, Dollar seems, well, rather weak. He battles demons with wits, fists, and bullets. No excessive displays of heavenly might, or smiting the souls of the wicked going on here. At first description, it may seem dull, but it is the secret to the character's success. Bobby's resemblance to the reader, his humanity, is what makes him such a remarkable protagonist and Williams never shies away from it.

Williams also populates the story with a memorable supporting cast. Standouts include, a chronically Caucasian who talks like a gangster rapper and desperately wants to be Dollar's wingman (no pun intended, I promise), a were-pig who can only carry on a conversation while in porcine form, who serves as the intel-specialist in the investigation, and Sam, a fellow advocate who has shares a surprising history with our protagonist. But the breakout star is Caz, a demoness who serves as Bobby's principle love interest. She steals every scene she's in with mercurial moods and ferocity, but Williams wisely adds surprising depth by fleshing out her back story, making her just as human as Bobby. Some readers may be bothered by the sudden change in her perceived character after this revelation, saying it weakens her as a character, but I disagree. I found her more believable and sympathetic afterwards, as I have known many women who have responded in similar fashion. The seemingly doomed romance between angel and demon seems to be here to stay and I am looking forward to more of Caz in the projected sequels.

The world building that was such a integral part of Memory, Sorrow, and Thorn may seem to be missing in The Dirty Streets of Heaven, but I would say that Williams' has elected to paint this setting in more subdued strokes here. Heaven, like the angels, are not what one might expect. Sure everything is full of radiance and happy feelings, but the resemblance to corporate hierarchy in the day to day operations of Heaven may be jarring to some readers. This is not the Heaven that religion promises, especially since most of the rank and file inhabitants seem more like ghosts that have drank liberally of the celestial Kool-Aid. Williams; Heaven is subversive and definitely prompts more disturbing questions than anything else in the novel. There is a sense that there are leviathans swimming just below the surface of Bobby's home away from home. Williams seems content to leave almost all the specifics of heaven to our imagination, through the fact that Bobby's memories of Heaven are misty and vague whenever he returns to Earth.

The pacing is fairly standard for an urban fantasy novel, with short chapters that propel us along with plenty of surprises and problems to distract Bobby from his task to solve the mystery of the missing souls. There is paranoia and suspicion a aplenty, and while I won't say I didn't see some of the revelations coming, I was never disappointed by the results. Bobby seems poised for many more adventures, and there are just enough loose plot threads left dangling that I need to know the answers. Much like the Dresden Files, I feel that the story will only become more complex, and the world more detailed as we follow each subsequent adventure. Williams has the makings of series that could challenge the seeming supremacy of Butcher's eponymous hero. More the merrier, indeed.